A New Type of Marine Ballast Water System Simulator

2013 ◽  
Vol 791-793 ◽  
pp. 1247-1251
Author(s):  
Feng Wei Yu ◽  
Fa Ming He ◽  
Xiao Chen Liu ◽  
Hong Ying Sun
Keyword(s):  
Ballast Water ◽  
Water System ◽  
Training System ◽  
The Third ◽  
Trouble Shooting ◽  
Software Interfaces ◽  
New Type ◽  
Third Dimension ◽  
Multi Mode ◽  
Marine Engineers

Operation and trouble shooting of ballast water system becomes a legal training item for marine engineers in STCW convention of IMO. Multi-mode simulating training system designed combines the actual devices with the simulating system. Ballast console mode improves the third dimension of training. Simulating software interfaces can meet the requirement of more trainees. The new configuration of the simulating system is benefit to the learning of actual devices. Convenient adjustment of the velocity of system process improves the efficiency of training. Several years of operation proved that the system is economical, reliable and the training effect is perfect.

scholarly journals Den umenneskeligt menneskelige ondskab - Seriemorderen som paradoksal grænsefigur

2018 ◽  
pp. 91-116
Author(s):  
Anders Dræby Sørensen
Keyword(s):  
Popular Culture ◽  
Forensic Psychiatry ◽  
Serial Killer ◽  
Fourth Dimension ◽  
The Third ◽  
Historical Condition ◽  
History Of ◽  
Cultural Order ◽  
New Type ◽  
Third Dimension

The article discusses the paradoxical role that the serial killer has taken in our present socio-cultural order as a limit figure which at once represents the villain and the hero. In a historical perspective the article examines why the serial killer has been given this role through 5 tracks: First, it is argued that the historical condition of the modern idea of the serial killer is a particular kind of historicalmythologizing of the serial murders. Then it is shown how the idea of serial killer is made widely known because a new type of criminal is introduced by the FBI as an internal enemy of the state. In the third dimension it is shown how this introduction is linked to the conceptualization of the serial killer in criminology and forensic science. The fourth dimension in the history of the idea of the serial killer is the story of how the serial killer is identified as a modern version of a monster by forensic psychiatry and popular culture and is associated with a revitalization of the concept of evil. In the final dimension the spread of the idea of the serial killer is connected to our existential dealing with ourselves.

scholarly journals Extending N-heterocyclic carbene ligands into the third dimension: a new type of hybrid phosphazane/NHC system

2015 ◽  
Vol 6 (4) ◽  
pp. 2506-2510 ◽  
Author(s):  
Torsten Roth ◽  
Vladislav Vasilenko ◽  
Callum G. M. Benson ◽  
Hubert Wadepohl ◽  
Dominic S. Wright ◽  
...  
Keyword(s):  
Carbene Ligands ◽  
The Third ◽  
System P ◽  
New Type ◽  
Third Dimension

A new type of hybrid phosph(III)azane/NHC system is described in which a phosphazane P2N2 ring provides unique opportunities for modifying the electronic and steric character of these carbenes.

Taking Cell Culture in Drug Discovery to the Third Dimension - A Patent Review

2008 ◽  
Vol 1 (2) ◽  
pp. 103-115
Author(s):  
Yinzhi Lai ◽  
Lina Wang ◽  
Ke Cheng ◽  
William Kisaalita
Keyword(s):  
Cell Culture ◽  
Drug Discovery ◽  
The Third ◽  
Patent Review ◽  
Third Dimension

La troisième dimension — De la fonction éthique et esthétique du décor dans le théâtre de machines français du XVIIe siècle

2020 ◽  
Vol 71 (1) ◽  
pp. 130-168
Author(s):  
Kirsten Dickhaut
Keyword(s):  
Seventeenth Century ◽  
Character Traits ◽  
Optical Illusion ◽  
Stage Design ◽  
The Third ◽  
Adequate Representation ◽  
Third Dimension ◽  
Xviie Siecle ◽  
The Aesthetic

AbstractThe machine theatre in France achieves its peak in the second half of the seventeenth century. It is the construction of machines that permits the adequate representation of the third dimension on stage. This optical illusion is created by flying characters, as heroes, gods, or demons moving horizontally and vertically. The enumeration indicates that only characters possessing either ethically exemplary character traits or incorporating sin are allowed to fly. Therefore, the third dimension indicates bienséance – or its opposite. According to this, the following thesis is deduced: The machine theatre illustrates via aesthetic concerns characterising its third dimension an ethic foundation. Ethic and aesthetics determine each other in the context of both, decorum and in theatre practice. In order to prove this thesis three steps are taken. First of all, the machine theatre’s relationship to imitation and creation is explored. Second, the stage design, representing the aesthetic benefits of the machines in service of the third dimension, are explained. Finally, the concrete example of Pierre Corneille’s Andromède is analysed by pointing out the role of Pegasus and Perseus.

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